After reading the title of monodrama “Faust from Tirana” a showpiece in an alternative setting, I was keened on going to this event. I’m glad I did, since it turned to be beautiful piece, perfectly adopted in the our context, done with an absolute low budget, but still reflecting much care, passion and desire to convey a powerful message to viewers. Staged at the premises of Tirana Express, in a modest, improvised stage located in a run-down post industrial environment of communist era, created the perfect setting for this performance – the transition of Faust from Tirana.
But let’s get to our personage and his inner drama. Faust from Tirana is an upset, disappointed intellectual looking back 22 years later after the fall of communist regime in 1991, displeased about the failure of his generation dreams and high hopes. It carries a powerful political message of a lost generation of the early 90’s, young intellectuals who’s dreams and aspirations for a democratic society adhering to EU values and integration are shattered. Transition between systems was longer then expected, full of unresolved issues which have captured every cell of our society like a chronic disease.
As in the original legend where Faust decides that a pact with Mephistopheles (devil) is the only way to fulfill his ambitions, Faust from Tirana suffered a deep emotional drama, an inner conflict on which path to follow: A pact with the devil (here it refers to politics) is the way to succeed, with the condition that as individual he will loose his privacy, his identity, his soul, become a clown in the eyes of his family and lead an absolute mediocre life. The lifestyle of a man who wakes up in the morning, drinks his coffee, goes out and bargains, comes back and sleeps. While shutting the door to Mephistopheles, abolishing the pact with the devil means being left alone, idle, un-accomplished, unrealized, without the dignity and the respect that an intellectual like Faust deserves. It’s the portrait of an unhappy “looser” who never went that far “to succeed”.
The dilemma of our Faust intensifies the moment in which he questions the very foundation of his life. Whether his reality has any longer a meaning, value or purpose triggered by the traumatic loss of his dear Margaret, is indeed a crucial moment in his existential crisis. In one hand, becoming a politician is both pragmatist and mediocre solution which he never found appealing. While feeling alone, isolated from the world, with no external meaning, he appreciates his own mortality. But ending it would that make a difference? Would that impact the world if he doesn’t wake up on the next morning? The harsh reality hits in. The life of the mediocre will continue with the same habits, in the same patterns. Therefore, committing suicide does not seem to be the solution either. The resolution of Faust from Tirana is left to the public to decide. The message stays strong and powerful, given in an artful and professional way by the production team and tremendous acting of Alfred Trebicka. If you get the chance, don’t miss this monodrama.